Antiracial

Gilroy argues for an image of Marley that is antiracial, anticapital and planetary. It is deemed antiracial because of the attempt to step outside the constraints of identity politics. Nonetheless, he acknowledges the racial elements that influence the representation of Marley' s image.

Lazarus calls this postcolonial criticism's reading of Fanon “back to front,” from the call for liberation in The Wretched of the Earth (1961) to the presciently poststructuralist sense of antiracial, nonparticularist identity in Black Skin, White Masks (1952).

However, analysis of the racial targeting of South Asians and their responses in the post-9/11 period suggests that religious identity can also work against a broader panethnic and antiracial mobilization.

Famous artists came to crusade for Woodard; radio show hosts, including Orson Welles, talked about the incident; Woody Guthrie wrote and performed songs such as "The Blinding of Isaac Woodard;" and artist Lord Invader wrote and performed antiracial songs like "God Made Us All" in support of Woodard.